Music in the moment
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- Publication date
- 1997
- Topics
- Music -- Philosophy and aesthetics, Musical perception, Music -- Psychological aspects, Musique -- Philosophie et esthétique, Perception de la musique, Musique -- Aspect psychologique, Muziek, Esthetische ervaring
- Publisher
- Ithaca, N.Y. : Cornell University Press
- Collection
- internetarchivebooks; printdisabled
- Contributor
- Internet Archive
- Language
- English
- Item Size
- 459.5M
xii, 184 pages : 24 cm
"What is required for a listener to understand a piece of music? Does aural understanding depend upon reflective awareness of musical architecture or large-scale musical structure? Jerrold Levinson thinks not. In contrast to what is commonly assumed, Levinson argues, basic understanding of music requires nothing more than properly grounded, present-focused attention; and virtually everything in the comprehension of extended pieces of music that suggests explicit architectonic awareness can be explained without the need to posit a conscious grasp of relationships across broad spans."--Jacket
"Levinson rejects the notion that keeping music's large-scale form before the mind is somehow essential to fundamental understanding of it. As evidence, he describes in detail the experience of listening to a wide range of music. He defends, with some qualifications, the views of the nineteenth-century musician and psychologist Edmund Gurney, author of The Power of Sound, who argued that musical comprehension requires only attention to the evolution of music from moment to moment."--Jacket
Includes bibliographical references (pages 176-179) and index
Edmund Gurney and the experience of music -- Statement and elaboration of concatenationism -- Initial defense of concatenationism -- Concatenationism and causality -- Large-scale relationships in music -- Sonata and other forms -- Further challenges I -- Further challenges II -- Concatenationism, musical value, and musical form
"What is required for a listener to understand a piece of music? Does aural understanding depend upon reflective awareness of musical architecture or large-scale musical structure? Jerrold Levinson thinks not. In contrast to what is commonly assumed, Levinson argues, basic understanding of music requires nothing more than properly grounded, present-focused attention; and virtually everything in the comprehension of extended pieces of music that suggests explicit architectonic awareness can be explained without the need to posit a conscious grasp of relationships across broad spans."--Jacket
"Levinson rejects the notion that keeping music's large-scale form before the mind is somehow essential to fundamental understanding of it. As evidence, he describes in detail the experience of listening to a wide range of music. He defends, with some qualifications, the views of the nineteenth-century musician and psychologist Edmund Gurney, author of The Power of Sound, who argued that musical comprehension requires only attention to the evolution of music from moment to moment."--Jacket
Includes bibliographical references (pages 176-179) and index
Edmund Gurney and the experience of music -- Statement and elaboration of concatenationism -- Initial defense of concatenationism -- Concatenationism and causality -- Large-scale relationships in music -- Sonata and other forms -- Further challenges I -- Further challenges II -- Concatenationism, musical value, and musical form
Notes
obscured text on back cover
- Access-restricted-item
- true
- Addeddate
- 2021-01-16 12:00:56
- Boxid
- IA40040308
- Camera
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- External-identifier
-
urn:oclc:record:1132664759
urn:lcp:musicinmoment0000levi_w2j4:lcpdf:91c5a159-c5d4-47fa-90d3-ae3cb8d3a942
urn:lcp:musicinmoment0000levi_w2j4:epub:95808d0a-3bbc-45f6-8bdb-54096ca26cb8
- Foldoutcount
- 0
- Identifier
- musicinmoment0000levi_w2j4
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- Invoice
- 1652
- Isbn
-
0801431298
9780801431296
9780801474293
0801474299
- Lccn
- 97019847
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- Pages
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- Rcs_key
- 24143
- Republisher_date
- 20210116113106
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- Full catalog record
- MARCXML
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